DESIGN IS A JOB MIKE MONTEIRO PDF
Co-founder of Mule Design and raconteur Mike Monteiro wants to help you do your job Jacinthe Busson attached Design Is a resourceone.info to [Book] Design is a Job. Brief books for people who make websites. Mike Monteiro. Design is a job Foreword by Erik Spiekermann. 7 No. As one of the book compilations to recommend, this Design Is A Job By Mike Monteiro has some solid reasons for you to review. This publication is really.
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Title: Design is a Job - Mike Monteiro. Page number ISSUU Downloader is a free to use tool for downloading any book or publication on ISSUU. By using. Co-founder of Mule Design and raconteur Mike Monteiro wants to help you do your job better. From contracts to selling design, from working. Well written. Very helpful for the everyday life of designers. The types of questions covered: How do we deal with clients? How do we convey value? How do we.
Charging for work must not be difficult, charge as much as possible and deliver on it. Clients buy work, not time, charge based on what the work is worth to the client and always work quickly to mention ball park figures as soon as possible so to avoid a shock when the proposal is delivered. The author tightens up his tone and urges designers to present their proposals with confidence using metrics based on research.
Never lower the price without taking work away and explaining the lost benefit, the secret to getting paid the desired amount is doing research to know what to ask, having the confidence to ask it and the willingness to walk away confidently if it doesn't work out.
Mikhail Wertheim Aymes l Book Review 3 of 5 Moving onto contracts, the author recommends that freelancers should have a lawyer write up a master contract for all their freelance work. Unhappy clients must give the designers a chance to address work, and guarantees of meeting the design goal should never be included. Monteiro yet again refers back to the designers process highlighting the importance of the plan that the designer uses to deliver on the clients goal.
He urges designers always to meet clients in person, and only phone call when really necessary as voice and body language are important. The remaining chapters in this book resonate louder than the previous as the author edges his way into the business end, he shifts his tone and in an encouraging manor informs the reader directly that when presenting the solution, do not ask for feedback subjectively, but rather ask specific objective questions about whether the design goals are being met.
Dont let the client design, manage their feedback in order to better understand the clients problem. Monteiro ends his book with final advice on getting paid, He recommends that payments should be broken up into portions and then linked to milestones or events that can be controlled. Dont use metrics as milestones, and be very descriptive of when exactly the payment is due as to avoid confusion and payments being withheld.
His claims act as validation for many other designers out there, and is a particularly useful source of information when working as a designer. In this book Monteiro has highlighted and explained who designers are, what they do, and how they work, while being particularly adamant that creativity is not a mythical creature, but rather a formalised process that requires constant input and criticism from clients. They may have even heard of you. Strike up a conversation with them and get as much detail as you can about the organization involved.
The other problem with RFPs is that they can be overly prescriptive in nature. They can include specific solutions that may or may not be appropriate. You may be able to help them through that. If an RFP starts dictating button colors, pick up the phone. Speaking directly to a designer may be what they need, much more than getting replies to a badly-formed RFP. Remember, not all organizations who send out formal documents have to. By the way, how do these organizations decide where to send these RFPs?
By referral. Getting Clients Outbound contact Download from Wow!
It is very, very low. Your best bet, as always, is going in through your network. Someone you know will know someone at that organization. Get ready to buy some meals and drinks. This is a little like that game where you start off with a paperclip and have to trade your way up to a dream client in ten moves or less.
But with a little luck you may be able to get in front of the right people. Pee in their fireplace or something. Oh, and potential clients love getting cold calls as much as you do. I believe it was about three or four grand to get our name on the banner outside the bar and a listing in the program. Instead we got stickers with our logo on them.
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It helps that our logo is an animal. People like animals. We went to the party and gave everyone a sticker. People got drunk, put stickers on each other, took pictures, and uploaded them to the internet.
You know how people referred to that party? The Mule party. So yeah, I believe in advertising. I also believe in not throwing money away. Did we get any clients out of that 20 Design Is a Job party? Probably not, but we raised our profile a little bit. So host the occasional party, buy the occasional ad in a conference brochure. Be visible in places where clients look. Conferences Conferences are a fine place to meet both potential clients and peers.
Sometimes these are the same person. Those are the same large organizations who hire outside designers, and send out RFPs, at which point having someone on the inside will be invaluable. Write the best blog about Disney design on the internet. As always, the key to everything, especially getting clients, is confidence. No one wants to deposit a check into an ATM machine that looks like it just got wheeled in place yesterday and may not be there tomorrow.
Ultimately you need to evaluate whether a client is the right client for you, because the perfect client is one that understands and values what you do, whose design problem plays to your strengths, and whose timeline matches your availability.
And this will keep the tigers away from your genitals. But they tend to come in enough different shapes and sizes that some of them will not be right for you. Or you may not be right for them. The clients you choose to take on define you.
talks and lectures
Your portfolio needs to tell a story and each client you add to it is another chapter in that story. And make sure your story is compelling enough that your next client is excited to become a character in it. Can you do good work for this client? The business development process should go both ways.
Do you have the core competencies to solve it? Is there room for you in the problem-solving process? Can they pay you? Trust your gut. If gathering requirements or technical constraints is hard, then gathering feedback will be just as hard, if not harder. If your conversations reveal a May Day parade of red flags, then disengage.
You will not be able to do good work, and neither you nor the client will be well-served. Your ability to do that is a sign of how good a designer you are as well. Just make my buttons! Walk away and let them see how great you look in your pants as you do so. Do they understand what you bring to the table? We know exactly what we need. Look for clients who have clear goals, not detailed punch lists. This is especially true of RFPs that require you to reply directly to each line item at the risk of being disqualified from the process.
Not to execute on one. Good work comes from mutual respect. We see this with early stage startups who were sent by their VCs. We also see it with internal designers who were sent by a higher-up. But when someone selling pants comes to you with an idea to sell toasters, beware. Why are they getting into a new business? Is it a natural growth of their existing business? Does their expertise in their current business translate to their new business?
Want to redo all that work? Which brings us to the most important thing of all. Work for money You are in business. You need to be as confident about money as you are about design. How clients talk about money is also a good indication of what sort of client they will be. Do they already have the money?
Do they have to make the business case for design to get the money? What do they value and what are they willing to pay for?
Do they have access to as much money as it will take? Do they already have a budget limit? Are they cagey about telling you how much they want to spend? If so, why?
And especially beware of clients who tell you the work you do together will look great in your portfolio. A client who asks you to work for less than market rates already disrespects you.
Working for portfolio fodder is the same as dying young and leaving a good-looking corpse. Never work for free. Any work you take on for free will get pushed aside for paying work.
That does neither you nor the client any favors. If the situation merits it, work at a discounted rate. But submit a budget showing the actual rate, with the discount applied. Money is a standard part of any business transaction. Can we take full credit for that?
Design, done right, is not a loss on the balance sheet and should not be bought or sold as one. Design is an investment in infrastructure and keeps the wheels of business running smoothly. Good design equals a more effective product or service. Design equals profit! But the truth is that no one is born knowing how to be a good client, just as no one is born knowing how to be a good designer.
And look how hard you have to work at being a good designer! Clients will always ask you to make their logo bigger, prescribe solutions, and ask you to do things that will make you smack your forehead. And just like a good doctor can put you at ease with a sensitive bedside manner and care with professional terminology, so must a good designer cultivate a productive means of getting the necessary information from their clients.
I am a lazy designer. Please take all my clients from me. You are responsible for the work you put into the world. A few years ago I was interviewing a designer for a job. We ended up passing on him. There are two answers I would have accepted from him. But hey, he would have been taking a stand. Instead he looked surprised that I was asking the question and said something to the effect that it was just the next project on his plate.
I asked him if he agreed with how the client made their money.
[PDF] Design is a Job by Mike Monteiro
But as a designer, hell, as any type of craftsperson, you are responsible for what you put into the world. You are defined by the clients you take on, and you can only stand as proud of the work as its benefit to society entitles you to.
So before you take on a client, ask yourself whether the problem the client is asking you to solve is one you feel good about attaching your name to. Are they serving a real need? If a product you design does harm, then you have done harm. I urge each and every one of you to seek out projects that leave the world a better place than you found it.
We used to design ways to get to the moon; now we design ways to never have to get out of bed. You have the power to change that. Making it work Client services is a story based on a series of good relationships. Before you enter into one make sure that all the necessary elements for success are there.
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Will following these rules help you get better clients? Are they fail-safe? Oh, hell no. Your mileage will certainly vary. Above all, the best advice I can give you in selecting your C h o o s i n g t h e Ri g h t C l i e n t s 29 clients is to be confident, treat everyone with the same respect you want them to treat you with, trust your gut, and iron your shirt.
Anything I have to tell you can be summed up thusly: charge as much as you can, deliver an honest value, and never work for free. It has come to my attention that some of you are uncomfortable with the idea of money. Money is C h a r g i n g f o r Yo u r Wo r k 31 so necessary to the fabric of society that even my friends in Berkeley have a secret guilty stash of it. The minute you got into the design game, you took up a trade that involves money changing hands.
And hopefully you can get on the receiving end of that transaction. You are not doing design, you are selling design, which is a valuable service. But if you are trying to make a living as a designer, then comfort with money needs to be part of your skill set.
The best part is that he was actually a client when he said that.
Design Is a Job
So how much should you charge? You charge as much as you can. If you can stand in front of a client completely confident and explain why you are worth the amount you quoted, you should charge it. There is nothing wrong with trying to get the highest price for your work. The more demand there is for a particular service, the more suppliers of that service can charge.
Kickstart is an NGO non-governmental organization that designs and manufactures low-cost water pumps for use in impoverished agricultural areas of the world, mainly in Eastern Africa. They have an amazing track record of helping people lift themselves out of poverty by using these simple, easy-to-fix water pumps to irrigate crops.
They create jobs. They sell them. The Kickstart founders spent years working with NGOs who donated equipment and tools to those in need, only to return to the scene and find that the equipment had been scavenged for parts or was sitting unused and rusting away.
Instead of free hand-outs, the Super MoneyMaker became an item the poorest people in the world would save up for. Only people who actually planned to use one would buy one.
When you pay for something with your own money, you value it more than when you get it for free. You take care of it. Most telling, people would scavenge from other things to repair their Super MoneyMakers. Undercharging for your work has the same effect. Clients value you in direct proportion to how much it costs them. If you have ever done volunteer work, you may have noticed that the people you were volunteering for had no trouble making increasing demands on your time.
Oh, and guess how much people value free work? You got it. Design can mean a lot of things. Ask five designers what they would charge to design the exact same thing and you will get five different answers.
Which they are. A client can get work of any description for a cost between zero and infinity. And sometimes the best way to do that is to help them map it to something they are familiar with purchasing. They know that the type of car a college student needs to get back and forth to class is vastly different than what parents with a new set of twins need. Except they may not know that yet metaphors are handy. When you first go off on your own to freelance, or start a studio, you might have the idea that everyone else has it all figured out.
We totally do! But eventually you do it enough times that patterns start to emerge. You gain enough experience to realize that this new job is similar to a job you did last year, which you undercharged for.
So you make the correction. Eventually what you gain is the confidence to trust your math and the experience to trust your instincts. The way each maneuvers to get the other to reveal their pricing structure is as fascinating as watching two overweight old bulldogs in the dog park circling each other for a genital sniff, but with much less probability of success.
And a lot more slobber. But with a little savvy and a bit of friendliness you should be able to get a general idea, at least a ballpark hourly rate, of what others are charging. Decide who you are competing against, and you will at least have a good ballpark to start playing in. There is always someone cheaper. Compete on quality, value, and fit. Charge for value, not time There are formulas that claim to help you figure out what to charge by looking at how much you need to make.
You should, of course, know the minimum rate you need to make to keep the lights on. But you should be charging clients based on what that work is worth to them, not the time it takes you to complete it. One is a logo for an internal project team. Bear with me as I oversimplify the hell out of this. Are you going to charge the same for both? No, you are not. Because the first logo is designed to build camaraderie around an internal project, while the second is part of a major project release that could stand to make the company a lot of money.
Only you know the value of your time. But the value of your work to a particular client depends on what the client has to gain from that work. And the client is not buying time from you. They are buying work. The value of that work is what you need to charge them for.
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Mike Monteiro. The Business of Design: Balancing Creativity and Profitability. Keith Granet. Professional Practice: A Guide to Turning Designs into Buildings. Paul Segal. Sarah Conley Odenkirk. Accessibility for Everyone. Product details Paperback Publisher: A Book Apart January 1, Language: English ISBN Tell the Publisher!
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Read reviews that mention design business mike monteiro must read great book waste of time easy read best book read this book designers clients confidence funny absolute career knowledge useful advice call contracts follow.
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Paperback Verified Purchase. Well written. Very helpful for the everyday life of designers.No one will think less of you.
This book is dedicated to my son Henry. Always present with a united front. Actually, mandatory for designers everywhere, whatever the level of experience may be.
The designer is responsible for gathering backend research about their client, so they know who they are going into business with, this also helps when figuring out the solution to fulfil the said goals.
Work for money You are in business.
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